Suchergebnisse

This article aims to explain, with an example, how historical dramas, under the scope of culture industry, rewrite history on the screen through distorting it. For this purpose, in the first chapter, it is defined who the subject that interprets and recreates the past is. Then, in the second chapter, a Netflix series, Bridgerton (2020) is taken as a recent example in connection with the previous chapter to reveal the instrumental historiography at the back of the production. Thus, it becomes possible to enlighten the intention and the motivation of such a historiography along with the mechanism that tries to make individuals believe fiction rather than facts. In conclusion, an evaluation is given on the example while especially focusing on the consequences of the instrumental historiography that the series has.

This article aims to examine the concept of the spectacle by depending on the works of Guy Debord and some secondary sources, and then to evaluate the examination according to post-truth politics that have arisen after Debord. For that purpose, the article is separated into four parts. The concept of the spectacle is analyzed in detail in the first part. After that, in the second part, the societies functioning through the spectacle are elucidated and the mechanism of the spectacle is revealed by some examples. Then, the relation between the spectacle and the formation of historical memory is shown, along with the roles of digital myths in industrial culture, in the third part. As for the fourth part, the spectacle is discussed by regarding the concept of post-truth and post-truth politics, and the article is completed after coming to a point on the issue. ; Este artículo tiene como objetivo examinar el concepto del espectáculo dependiendo de los trabajos de Guy Debord y algunas fuentes secundarias, luego se examina la política de la posverdad que surgió después de Debord. Para ello, el artículo se divide en cuatro partes. El concepto del espectáculo se analiza detalladamente en la primera parte. Después de eso, en la segunda parte, se dilucidan las sociedades que funcionan a través del espectáculo y algunos ejemplos revelan el mecanismo del espectáculo. Luego, se muestra la relación entre el espectáculo y la formación de la memoria histórica, junto con los roles de los mitos digitales en la cultura industrial, en la tercera parte. En cuanto a la cuarta parte, el espectáculo se discute en relación al concepto de política de la posverdad, y el artículo se completa después de llegar a un punto sobre el tema.